I often see work in the One Year On part that I had skimmed over the previous year and Leah Jensen’s is a case in point. Her porcelain vessels look as if they have been digitally 3D printed using triangulation yet are hand carved using similar mathematical processes with Renaissance paintings of women as her visual source. She calls her work “anti-digital”
Ainsley Francis, whose work I featured last year, has developed her camerae obscurae, expanding the idea of a fixed exterior holding a changeable interior view.
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